The purpose of the African Women in Cinema Blog is to provide a space to discuss diverse topics relating to African women in cinema--filmmakers, actors, producers, and all film professionals. The blog is a public forum of the Centre for the Study and Research of African Women in Cinema.

Abstract: Sexuality, as represented in African cinema from the 1970s to the present, no longer limits itself to its strictly biological function of reproduction. It inscribes itself in the more complex relationships of diverse social actors, and implicates itself in the intense activities of the socio-cultural space of African existence. More specifically, representations of sexuality in African cinema offer a broad platform of reflection upon notions of sexual pleasure, feminine desire, and the repartition of social roles. They permit, moreover, the emergence of new perspectives that go against the grain of both the dominant phallocratic domestic social order and Western doctrine imposed from the outside. The appropriation of cinematographic technology by African filmmakers who wish to produce an authentic vision from within validates both the filmmaker as a social actor and filmic discourse as a means of disalienation. One must recall that, for a long time, Western cinema has been a vector for all kinds of degrading prejudices vis-a-vis the sexuality of Africans by privileging a globalized vision of humanity that expulses the diversity of representations of social experiences in differing cultural contexts. This research sets out to examine the troubled evolution of representations of sexuality in West African cinema; further, it analyzes conceptual strategies and narratological processes by which African filmmakers distance themselves from caricatural and stereotypical visions of African social reality.

23 June 2013

The commemoration of the International Day of the Widow, 23 June, provides the opportunity to highlight the numerous difficulties that women endure at the death of their husbands. Plunged into a state of mourning, widows sometimes find themselves without the protection of a social net for the first time since their marriage. Too often they are deprived of their inheritance, property rights, access to employment and even the means to ensure their survival.

Poster of the film Neria (1993) by the late Godwin Mawuru. Neria portrays the problems African women face when widowed. Patrick and Neria, through their hard work and resourcefulness, have built a comfortable life for themselves. When Patrick dies tragically, Neria’s nightmare begins. Taking advantage of tradition to suit his own needs, her brother-in-law helps himself to her property. Neria fights back. (Source: Media for Development Trust).

[Français]

Affiche du film Neria (1993) du regretté Godwin Mawuru.

See also | À voir aussi :

"Le dos de la veuve" (the back of the widow), the politically committed documentary by Cameroonian Mary-Noël Niba, critique by Maturin Petsoko.

18 June 2013

In the animation film, Aya de Yopougon, unveiled at the Annecy Film Festival, filmmaker Marguerite Abouet, author of the popular graphic novel of the same name, describes with tongue-in-cheek humour--avoiding all miserablism--a cheerful and modern Africa in a working-class neighbourhood of Abidjan.

At the preview screening of the film during the Annecy Film Festival, Marguerite Abouet, who lived in Côte d’Ivoire until the age of 12 years old, had this to say: "When listening to the media, I do not recognise the Africa of my childhood, so I decided to show a version that is closer to the daily lives of Africans, which though indeed it does exist, does not focus on war or famine."

The animation film draws from the first two volumes of the graphic novel made in 2005 with graphic artist Clément Oubrerie, who is also the co-director of the film, to be released on 17 July. It recounts the life of Aya, a beautiful 19-year-old Ivorian who lives in Yopougon, a working-class neighbourhood of Abidjan in the 1970s.

A serious young woman who has ambitions to become a doctor, she is in total contrast to her two friends, Adjoua and Bintou who to her dismay, do extremely well in the categories : Hairstyles, Fashion and Husband hunting. The two girls, go dancing in the "bush", venture out to the dance halls, taking life easily, until the day that Adjoua, who is not married, finds out that she is pregnant.

In a serene atmosphere with warm colours seasoned with popular songs, the film attempts to describe the lives of an urban and modern neighbourhood where no matter the circumstances, everyone stays optimistic by relying on the solidarity among neighbours.

"Dresses from Paris"

"While in the West the subject of paternity suits would be welcomed by psychiatrists, in Africa the problem is resolved in another manner, without wallowing in self-pity", Marguerite Abouet notes with a smile.

With elegant graphics and characters drawn with very simply lines the one-hour-thirty-minute film depicts a bustling city far from the pessimistic clichés about Africa. Here women are coquette, wearing the “dresses of Paris”, and the men, incorrigible womanisers, dressed in jeans while queuing up to get coiffed by the Michael Jackson look-alike.

Moreover, the feature-length film opens with a live-action advertisement showing beaming children, which boasts the benefits of a beer, whereas the second one promotes a bank.

These effects, which quickly set the tone of the film according to Clément Oubrerie, are relayed by the character Sissoko, a rich tycoon who made his fortune in the beer industry and who lives in a large mansion with swimming pool and marble surrounded by skyscrapers.

Similarly, the wise Aya, to which her friends come for advice, proves to be a self-confident young woman, independent and liberated, and who like most of the women in the film, plays a decision-making role in the family.

Even though it is optimistic, the film is not especially kind to its characters. With a direct tone where “everyone is hauled over the coals”, the filmmaker depicts Africans with ferocious humour. Women are venal, ready to lie in order to achieve a favourable outcome, and the men are cowards, who collect mistresses and are rarely present in day-to-day life.

I though that African men were going to jump all over me, but that was not the case, because they recognise that this was reality,” declares the young filmmaker, who hopes to release the film soon in Côte d’Ivoire.

Public cible | Targeted audience : Enfants à partir de 7 ans | Children from 7 years old

Context | Contexte :

[English]

African culture in general, and Ivorian culture in particular, is very rich. Rich because of its diversity and the myths that encompasse it. These legends and myths are not sufficiently promoted and presented to the public.

Yet, these stories are recounted in our books and even more, they are integrated into the national education : Sundjata Keita, Abla Pokou, Samory Touré, the King Behanzin. All of these stories bring out the messages and values that are necessary for a better appreciation of our cultures.

In the eighteenth century, in the kingdom of the Ashanti people, which spans two-thirds of present Ghana, lives the princess Abla Pokou. A very influential advisor of the king Opokou Warê, she is also opposed to war. Pokou is a serious obstacle to Kongouê Bian, a former warrior who has turned to witchcraft. Thirsty for power, he attempts to overthrow the king, his best friend, in order to dispose of the legitimate heir to the throne. Using her charisma and mystical powers, Pokou intervenes to prevent a war between the Ashanti who as in favour of and those who are against the regime imposed by Kongouê Bian. She prefers exile to confrontation. Kongouê Bian sets off after them. He is determined to avert the prophesy that predicts that a woman will be the head of a new kingdom that is as powerful as the Ashanti.

Abla Pokou, still known as Abena Pokua or Abraha Poukou or still again, Aura Poku, is a princess who actually existed and played an important role in the history of the Ashanti kingdom, as well as the Côte d'Ivoire. She is indeed at the origin of the birth of the Baule people, one of the main Ivorian ethnic groups.

Even though it took place in the eighteenth century, the story of Pokou is strikingly topical : Between the courage of a woman who is able to enforce her ideas in a world governed by men, of conspiracies and coups d'etats, the preference for dialogue rather than war, of exile to fratricidal war, of personal sacrifice for the welfare of all...It is a genuine overview of the values which at present tend to disappear.

As do all of the stories of that era, that of the princess Abla Pokou has different versions. She has even become a legend. We have chosen a formula that conserves certain historical facts on which there is consensus, while adding fictional characters and a mystical dimension, as well as special effects, humour and fantasy.

Through the scenery, costumes and rituals, the film also takes the opportunity to introduce the Ashanti culture in particular and the Akan group in general.

Destined for an exceptional future, from an early age Abla Pokou is initiated by the king's priestesses, a commando of sorts, destined to protect the throne and fight mystical forces. Like her counterparts, she must not marry nor have children. But in contrast to the others, she holds a seat on the committee of the elders, and even though she is the youngest, she has the king's ear. And thus, opposed to violence, she manages to put an end to the wars of conquest in favour of negotiated settlements. Mysterious visions allow her to see the future and to guide her to her destiny.

Kongouê Bian

A former warrior and the king's best friend, he thirsts for power. Kongouê is also very bitter. He is among the king's advisors and is opposed to Abla Pokou's position, which favours dialogue. As such he has no qualms in using a group of soldiers headed by his son, as well as his mystical powers, to achieve his goal.

In the International Competition, Mille soleils (A Thousand Suns) by Mati Diop, will make its world premiere at the 24th edition of the International Film Festival - Marseille, 2-8 July, 2013.

A Thousand Suns explores the personal and universal legacy of the film Touki Bouki, made in Dakar in 1972 by Mati Diop's uncle, the late cineaste Djibril Diop Mambety. She journeys in search of her origins through the footprints of this mysterious film and along the way gets to know Touki Bouki's two main actors, thirty five years later. Between the boundaries of intimacy and myth, stories of family, cinema, and exile ripple from each other like waves.